Screenland (May-Oct 1939)

I When there's excitement on the set, you know a great picture is being made! Watch the wheels go round in this intimate glimpse of the new Bette DavisEdmund Goulding film in production By Stiles Dickenson George Brent is the male ro THE first time Bette mantic '^erest in Bette's picT \ • i ture — and they do say in real Davis has ever worn i.x n D f n il ■ li . lite as well. Below, Bette, right, a wedding dress and goes over her dialogue with [veil 011 the Screen, 01* oft director Edmund Goulding and I the screen for that matter, co-star Miriam Hopkins, is in her present film, the title of which certainly doesn't suggest orange blossoms and a weddingmarch. It's called "The Old Maid." Its stars, Bette and Miriam Hopkins, with the romantic masculine interest in the very capable hands of George Brent. And, romantically speak' ing, the interest George is showing in Bette isn't entirely confined to the working hours in front of the camera. It was a good idea to team the Hopkins and 1 Davis gals, for no greater study in contrasting peril sonalities and acting methods could be found in | Hollywood. So you can imagine the treat it was to ; sit on the side lines and watch them do their stuff under the clever and understanding guidance of Edmund Goulding. As Goulding had already directed "'Dark Victory," it was only natural that he should continue to work with the brilliantly responsive Davis. The first day I went on the set I found Bette all decked out in^her wedding finery, with Miriam in swishing silks of mauve and pale blue — quaint costumes of the 70's, the period in which the film is laid. Bridesmaids were hovering about the scene. Bette and Miriam were acting at the time. They did an intensely dramatic scene and then retired while the lights were re-arranged for another shot. At the same time the two stars daintily lifted their gleaming skirts to step off the set and I was highly amused to see that their feet were encased in big comfortable bedroom slippers instead of high-heeled satin ones. They gave in to the tight waists of the epoch but remained serenely comfortable in their hidden footwear. Once off the set, the contrast of the two stars' personalities is just as marked as their screen methods. La Hopkins quietly goes to her corner where she takes up her knitting, either glancing at the script or just sittin' knittin'. The Davis one grabs a cigarette and wanders about the stage, chatting with anyone near her, and never seems to want to be still. She laughs and smiles constantly. One can see that the electricians and property men adore her. It was characteristic of her that when she was called to do the next scene, which was a very sad one, she turned to some of the cameramen and said gaily, "Be prepared, boys, this scene is going to kill you !" She was right, for from my own tear-dimmed eyes I noticed the boys had a suspicious moisture in theirs. All the time1 Miriam, from her knitting corner, would look up and smile sweetly but say nary a word. Don't get the impression of a haughty lady, for she is not. She is merely very much wrapped up in her work and keeps concentrated on the mood when not actually acting. She loves to get in a huddle with director Goulding and Bette and talk over the scenes, but for real visiting and chattering she will invite you to her home for a quiet little dinner, where she is a perfect hostess with her director-husband Anatole Litvak the genial host. Once away from ■ the studio Miriam will talk a mile a minute — mostly about politics, national 'and international. Because of having a foreign husband her sympathies and interests are in the politics of Europe as well as America. Small chatter of Hollywood finds no place in the Hopkins conversation, which is a great relief, I assure you, to those living in this great whirlpool of gossip. Her film roles and film plans she will gladly talk about, however. Recently she sprained her back in a too strenuous game of tennis and that too explains why she quietly rests in (Please turn to page 93) 31